Arthur Woo – Director of Photographyhttp://www.arthurwoo.com
Sat, 03 Mar 2018 20:43:29 +0000en-UShourly1https://wordpress.org/?v=4.9.4Shooting on 16mm Film – Creating your imagehttp://www.arthurwoo.com/2018/03/03/shooting-on-16mm-film-image-quality/
http://www.arthurwoo.com/2018/03/03/shooting-on-16mm-film-image-quality/#respondSat, 03 Mar 2018 10:49:59 +0000http://www.arthurwoo.com/?p=1006This is part 2 of shooting on 16mm film for people having little to no experience shooting on film. Before looking at the mechanics of a film camera, I thought it would be worth mentioning the factors that affect the images you capture.

Film is Film

Everyone who shoots on digital cameras understands that the choice in camera affects the image you get. An image from a 5D mark IV looks different than that of an A7S II. RED’s Helium sensor looks different from ARRI’s Alev III sensor. And so on.

On multi-camera shoots where for whatever reason not all cameras are the same make/type, mixing cameras in the edit can be problematic because they may not look the same. Although it is possible through the use of lenses, filtration, post, etc to get cameras to match, it’s generally preferable to have the same type of camera, or at least the same brand, on projects. More work in production means less headache in post.

This does not translate the same for film. Your choice in camera will not affect the image quality if you use the same type of film/lenses/filters across your cameras. In other words, whether you decide you’re using a Bolex, Arri, or Aaton camera, using a roll of a certain film stock, say 16mm Kodak 500T Vision 3 7219, will make the image look the same across each camera. This is assuming your lens/filters/exposure are the same.

The reason being is that the particular type of film stock you use determines the qualities of the image. The camera is just a vehicle for the film to get exposed and capture its images. If you want a different ‘look’, you change things like the film stock and the lenses. The film stock can be thought of as your ‘sensor’.

Why are there different cameras then?

Different cameras have different capabilities. Some film cameras are light and compact, but sacrifice on the number of features like electronic readouts of things like exposure, fps, video taps for monitoring the image, etc. Some smaller cameras like the Bolex have a hand crank mechanism to power the camera.

Other cameras are larger and more cumbersome, but have the ability to include high speed capture (higher fps), hold larger amounts of film (more rolling time), etc. Some cameras were made for larger studio productions, and others more handheld for run and gun or documentary style shooting. Some people say that certain brands are more reliable than others.

How to modify your images

So if film cameras are just vehicles for film to get exposed in, how do you modify or bake-in certain looks on film? The answer is through selecting different film stock, lenses and filters.

Different film stocks have inherently different properties. Kodak looks very different from Fuji. Even Kodak 250D looks a little different from Kodak 500T from a grain structure perspective. Selecting your film stock will set the base look for your image.

Lenses are a big determining factor for your image creation. In digital cameras, sometimes you want an image to look really modern, so you’d use something clean and sharp like an Ultra Prime lens. Other times, you want the image to look softer and not perfect, so you’d use a vintage lens like a Zeiss super speed. Your mileage may vary, based on the image quality of the sensor itself.

16mm is similar concept, but I would say it’s the opposite mentality – since it already has a ‘soft’ and vintage image quality, the sharpest lenses possible are preferable. For me at least.

Filtration is also another way to modify your images. There were a lot fewer options in post in previous years – there was no Davinci Resolve, Tiffen Digital filters, etc to help alter your images. So you’d have to do everything in camera.

A word on exposure

There are different levels of ASA/ISO for film stock. In a digital camera, you have control of ISO at your finger tips through a menu in the camera. If things get too bright or dark, you can change the ISO at will (even though that’s not optimal). Not with the film camera. One of the fun, and also challenging things shooting on film is that once you select your roll of film, you are stuck with that ISO until the next roll.

So you only have aperture and shutter speed to change your exposure in camera. Seeing as how the shutter speed should remain the same in most scenes for consistency in motion blur, that leaves the aperture. When working on certain projects you also may want to remain consistent on your f-stops in each scene, so that means you shouldn’t change anything in the camera.

This situation is where your mastery of lighting (or that of your gaffer’s :)) comes into play. I’d guess this is one of the reasons why cinematography was much more of a mystical art before the age of digital cameras. Not just anyone could look at a digital monitor and move the lights around until the image looked decent. You had to know how the lighting exposure and placement would actually look on a developed roll of film.

The mechanics of using a film camera

Now that we have a base understanding of what affects your images, on to the fun part for your tech heads out there. Part 3 is about the mechanics of using a 16mm film camera – selecting a camera, loading the film, filming, and processing the images.

]]>http://www.arthurwoo.com/2018/03/03/shooting-on-16mm-film-image-quality/feed/0Working New York Fashion Week – A Primerhttp://www.arthurwoo.com/2018/03/01/working-new-york-fashion-week-a-primer/
http://www.arthurwoo.com/2018/03/01/working-new-york-fashion-week-a-primer/#respondThu, 01 Mar 2018 12:11:25 +0000http://www.arthurwoo.com/?p=963New York Fashion Week (NYFW) is an exciting, buzz filled week full of celebrities, fashionistas, designers, amazing locations, and of course, the clothing. Behind the scenes, there are countless bloggers, photographers, hairstylists, makeup artists, and more who prep and capture everything that’s happening so that the rest of the world can be up to date on the latest trends that established and up-and-coming designers are releasing to the world.

Although my career direction has taken me on a different path and I don’t actively advertise myself as someone who works at fashion week, it holds a special place in my heart. I was just starting to make my way into the fashion and beauty world with real clients when I got the call. It was at a time where many of the shows were hosted at the Lincoln Center, which was an amazing experience. I loved it.

For those of you who have a similar desire to be a part of fashion week but haven’t reached it yet, let me share with you my experience.

The Beginning – How I got started

It was a dream and goal to experience working behind the scenes at NYFW since I got into fashion. There are fashion shows all over the world, but the experience at the major shows in the fashion circuit in New York, London, Paris, and Milan are another level.

When I moved to NYC, I’d worked about a year on various fashion and beauty projects, building up my reel and resume. I eventually connected with designer Sally Lapointe and was brought on to capture a fashion show for her. I was excited. My dream of working at fashion week was coming to fruition.

My first show

I was set to capture the backstage action and the runway.

There were no ‘how-tos’ (at least that I knew of) on the internet at that time of how to prep to capture one of these shows on video. I had no idea what to expect as far as how to prep. Of course, I didn’t tell or show anyone that, so I packed almost all of my equipment with me into two cases. I think I even had Arri fresnels with me (lol). I really just wanted to be prepared.

When I got backstage, I knew I brought too much stuff for a one person job. When they finally let everyone in, I was already behind on capturing as everyone started working immediately. Up to that point I’d captured a few events before, but it was always a leisurely process. I thought I would at least have some time to settle my equipment and get a lay of the land. I was wrong. I prepped as fast as possible and started capturing what I had been assigned to capture.

When shooting fashion week, it’s best to be as prepared as possible when you walk in. Not every show is like this though. There are some shows I’ve been to where there was no rush at all. However, there are some where you start working immediately upon getting your backstage badge.

Here’s the very first show I shot in 2013:

Backstage Buzz

Being backstage at NYFW definitely changed my perception of what Fashion Week is. From my perspective, it’s a stress bomb waiting to go off at any second. There’s a short window in order to prep all of the models, clothing, hair, makeup, etc. It somehow always comes together, but people get on edge when they’re against a clock and money/reputation is on the line.

I will use a term I don’t often use for myself – videographer. That’s what I’ve been at these shows – just capturing the environment. There are some instances where I was able to light backstage, but those have been few and far between. As a videographer, it can be challenging to capture the environment since many backstage areas are poorly lit – either not enough light or mixed color lighting.

There are other videographers who are tasked to capture interviews which can be challenging. Most people end up using on camera LED lights since they’re small and compact. I despise on camera lighting. I think they’re horrible. I’d rather use the ambient light and strategically place the person being interviewed vs blasting light at their face. But that’s just me

The Runway

This is by far the most glamorous part of NYFW shows. Let me restate that – glamorous for the people watching the shows. As someone working on the photographer pit trying to capture the show, it can be a battle.

I’ve experienced people shouting at me, elbowing me, pushing me, etc. to insert themselves onto the riser that faces the runway. I’m pretty laid back in general in terms of dealing with people, so I haven’t had to get into it with anyone. There are many photographers who work multiple shows in the global fashion circuit, so they save each other space on the risers and band together. It’s a nice thing, but not if you don’t belong in the circle.

The Fashion Show Process – and Tips

Here’s a breakdown of most shows that I’ve experienced, and some tips for the uninitiated:

1. Arrival. Depending on what your assigned to cover, I’d suggest arriving early if you’re unfamiliar with the brand, client, etc. You never know what could happen.

2. Check-in. There is a line for check-in. Make sure whoever you are working with at the show has you on the list. If you’re not, it can be a gamble. Most of the time you won’t be let in unless your name is on the list, or if someone who is working there escorts you in. Make sure you have your contact’s info with you and that someone will be available to help you in the event your name didn’t make it onto the list.

3. Prep. Assume the show is running late and have everything prepped. If you need to prep anything, try to keep your prep window to 2 minutes. There are times I’ve had no time to prep and got behind.

4. The backstage and show schedule. It usually goes as follows after check in:

-Key hairdresser and makeup artist demonstrate to their respective teams what the technique is.
-After the demonstration, the hair and makeup teams start working on the models.
-A dress rehearsal with all of the models on the runway occurs. This is for everyone to see the walks, the lighting, music, etc.
-Hair and makeup teams finish after the dress rehearsal.
-Models get into wardrobe.
-The show begins.

This all usually happens within a 3-4 hour window depending on the show. After the first hour, I would say there is a little breathing room if you’re capturing backstage. It’s usually the first and last hour that you really can see the buzz in images, because that frantic energy is in the air. You can see the focus on people’s faces, body language, etc.

Fashion Week – Currently

Fashion week is no longer held at the Lincoln Center in NYC. You can look up the reasons for why as there are a lot of articles that cover it. Now all of the shows are spread out through the city. Some locations are amazing, others not so much. However, I’ve found the principles and the schedule to be pretty similar.

If you’re looking to capture fashion week as a photographer or videographer, you’re in for some fun, and some hard work. If you have any questions, feel free to email me and I’ll see how I can help. Have fun!